कलात्मक पूर्णता (virtuosity) का चरम, जसचा हेफ़ेट्ज जैसा वायलिन वादक, व्लादिमीर होरोविट्ज जैसे पियानो वादक का वह अलौकिक हुनर—ये ऐसे कलाकार रहे हैं जो इतने अनूठे और व्यक्तिगत थे कि उनकी नकल करना ऐसा होगा जैसे किसी और की बोतल में अपनी शराब भरना।
The zenith of virtuosity, a violinist like Jascha Heifetz, the supernatural in a pianist like Vladimir Horowitz, these are performers who were so idiosyncratic and personal that to imitate them would be like filling somebody else's bottle with your wine.
The zenith of virtuosity, a violinist like Jascha Heifetz, the supernatural in a pianist like Vladimir Horowitz, these are performers who were so idiosyncratic and personal that to imitate them would be like filling somebody else's bottle with your wine.
मुझे लगता है कि कलाकारों के रूप में हम जो सबसे maravillous (अद्भुत) काम कर सकते हैं, वह यह है कि हम श्रोताओं को याद दिलाएं कि वे आज भी संगीत की भावनाओं और संवेदनाओं से ऐसे जुड़ सकते हैं जैसे कि वह संगीत कल ही लिखा गया हो।
I think one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.
I think one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.
हम सब जानते हैं कि आज ऐसे कई लोग हैं जो इस वाद्य यंत्र को पूरी परफेक्शन के साथ बजा सकते हैं, तकनीकी बारीकियों के साथ ऊपर-नीचे जा सकते हैं, लेकिन क्या उनकी आवाज़ भीतर तक जुड़ती है, क्या वे लोगों के दिलों को छूते हैं, वे कितने रचनात्मक हैं.... ?
We all know that there are many people that can play the instrument perfectly today, up and down with technical perfection, but does the sound connect internally, do they touch people's hearts, how creative are they.... ?
We all know that there are many people that can play the instrument perfectly today, up and down with technical perfection, but does the sound connect internally, do they touch people's hearts, how creative are they.... ?
जब मैं वास्तव में वादन कर रहा होता हूँ तो अतीत के बारे में ज़्यादा नहीं सोचता, मैं वर्तमान पर ध्यान केंद्रित करना पसंद करता हूँ। किसी रचना की प्रस्तुति, चाहे वह कितनी भी पुरानी हो या कहीं भी लिखी गई हो, हमेशा एक नई प्रस्तुति होती है, एक ऐसी चीज़ जो वर्तमान में जीवंत हो उठती है। और इससे कोई फर्क नहीं पड़ता कि वह कृति दो या तीन सौ साल पहले लिखी गई थी या नहीं, बशर्ते वह हमारे भीतर जीवित हो।
I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
मैं कहूँगा कि युवा संगीतकारों के लिए, तकनीकी दक्षता आज के समय में आवश्यक भी है और स्वतःस्फूर्त भी। लेकिन आपकी पढ़ाई और समाज में काम करने का आपका तरीका, आपके विश्वास और आपकी जीवनशैली—यहीं से आपको एक असली संगीतकार, एक असली कलाकार मिलेगा।
I would say that for the younger musicians, technical proficiency is necessary and a given these days. But the study and the way you function in society, your beliefs and the way you live, that is where you will find a real musician, a real artist.
I would say that for the younger musicians, technical proficiency is necessary and a given these days. But the study and the way you function in society, your beliefs and the way you live, that is where you will find a real musician, a real artist.
मस्त्रोपोविच के लिए, उनके द्वारा बजाया जाने वाला हर एक नोट अपने पीछे एक खास तरह का मानवीय अर्थ समेटे हुए था। और यह एक ऐसी बात थी जिसे वे खुद भी व्यक्त करते थे और हर उस व्यक्ति से इसकी मांग करते थे जो उनके साथ काम करता था, जो उस स्तर तक पहुँचना चाहता था।
For Rostropovich, every single note that he played had a special kind of human meaning behind it. And this was something that he expressed and demanded of everyone who worked with him, who wanted to rise up to that level.
For Rostropovich, every single note that he played had a special kind of human meaning behind it. And this was something that he expressed and demanded of everyone who worked with him, who wanted to rise up to that level.
शास्त्रीय संगीत का दायरा बहुत विशाल है—न केवल शैली के मामले में, बल्कि काल, युग और उन उद्देश्यों के दृष्टिकोण से भी जिनके लिए इसे रचित किया गया था—यह एक विराट कला रूप है।
The realm of classical music is so vast - not only in terms of style but of era, age and the purposes for which it was composed - it is an enormous art form.
The realm of classical music is so vast - not only in terms of style but of era, age and the purposes for which it was composed - it is an enormous art form.
जो रचनाएँ आज तक बची हुई हैं, जिन्हें हम सब इतना प्यार करते हैं, वे सब अपने समय में लोकप्रिय नहीं थीं। बीथोवेन की बाद की स्ट्रिंग क्वार्टर (string quartets) को ही देख लीजिए। हालाँकि, संगीत समुदाय द्वारा चुनी जाने वाली धुनें आमतौर पर सर्वश्रेष्ठ होती हैं।
The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
सालों और पीढ़ियों के दौरान हमारी व्याख्याएँ हमेशा बदलती रही हैं, लेकिन संगीतकारों की भावनाएँ, विचार और सोच आज भी हमारे साथ बने हुए हैं, और यही संगीत का आधार हैं। समय के कारक से इसका बहुत कम लेना-देना है क्योंकि आखिरकार, यह बात मानवीय भावनाओं, ब्रह्मांड और एक इंसान के रूप में हम कौन हैं, इसी से जुड़ी है।
Our interpretations through the years and generations have always changed, but the emotions, ideas, and the thoughts of the composers are still with us, and these are the premise of the music. The time factor has little to do with it because, after all, it is about human feeling, the Universe and who we are as people.
Our interpretations through the years and generations have always changed, but the emotions, ideas, and the thoughts of the composers are still with us, and these are the premise of the music. The time factor has little to do with it because, after all, it is about human feeling, the Universe and who we are as people.
अगर मैं दुनिया भर में सिर्फ शेलोस के संगीत (कंसर्टो) बजाता फिरूँ—और यकीन मानिए, मुझे उन्हें बजाना बहुत पसंद है—तो भी मेरा पूरा प्रदर्शन-संग्रह (repertoire) साल-दर-साल मेरे दोनों हाथों की उंगलियों पर गिना जा सकता है।
If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.
If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.
भले ही आप एक पियानोवादक हों, लेकिन यदि आप चैंबर संगीत (chamber music) पियानोवादक होते, तो उसकी तुलना में आपका कंसर्टो का दायरा बहुत सीमित होता है।
Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.
Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.
मुझे लगता है कि आप आज के कई महान एकल कलाकारों के जीवन से बहुत कुछ सीख सकते हैं। चैंबर संगीत में उनकी भागीदारी और झुकाव लगातार बढ़ रहा है।
I think you can tell a lot from the lives of many of today's great soloists. Their participation and gravitation towards chamber music is ever increasing.
I think you can tell a lot from the lives of many of today's great soloists. Their participation and gravitation towards chamber music is ever increasing.
जब मैं एक छात्र के रूप में आखिरकार मस्त्रोपोविच के संपर्क में आया, तो उनका पूरा ध्यान संगीत पर था, लगभग पूरी तरह से संगीत पर ही केंद्रित था, इस बात पर कि संगीतकार के मन में क्या था और वे संगीतकार के बारे में क्या जानते थे। मैंने उनके सामने जिन रचनाओं को बजाया, उनमें से कई वास्तव में उन्हीं के लिए रची और लिखी गई थीं; वे अक्सर इन रचनाओं को पहली बार मंच पर प्रस्तुत करने वाले (first performer) होते थे, क्योंकि वे संगीतकारों को व्यक्तिगत रूप से जानते थे।
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
मेरी बहुत सी संगीत की शिक्षा सिर्फ सुनने मात्र से पूरी हुई है। यदि आप सचमुच अपने वाद्य यंत्र में महारत हासिल करना चाहते हैं, तो यह लगभग असंभव है कि आप जो देखते और सुनते हैं उसे विकसित और विश्लेषित न करें और उन सबका अपने वादन में समावेश न करें।
A lot of my musical education was done simply by listening. If you really want to excel on your instrument, it's almost impossible to not develop and analyze what you see and hear and to incorporate all of it into your own playing.
A lot of my musical education was done simply by listening. If you really want to excel on your instrument, it's almost impossible to not develop and analyze what you see and hear and to incorporate all of it into your own playing.
एक कलाकार और संगीतकार होने के नाते, मैंने पिछली पीढ़ी को इस कला को आजीविका कमाने के साधन के रूप में नहीं, बल्कि एक विश्वास के रूप में लेते देखा है—संचार के प्रति एक उन्मत्त, कभी-कभी पागलपन की हद तक समर्पण और प्रतिबद्धता।
Being an artist and a musician, I have witnessed the previous generation taking the art form, not as a way of making a living, but as a belief, an almost maniacal, sometimes insane devotion and commitment to communication.
Being an artist and a musician, I have witnessed the previous generation taking the art form, not as a way of making a living, but as a belief, an almost maniacal, sometimes insane devotion and commitment to communication.
उन्नीसवीं शताब्दी की शुरुआत से, फ़्रैंज़ लिज़्त् जैसे कलाकारों के साथ, ऐसे संगीतकार सामने आए जो श्रोताओं में जोश भरने और एक बिल्कुल नए स्तर पर संवाद करने में सक्षम थे।
Beginning in the nineteenth century, with performers like Franz Liszt, were musicians who were able to excite an audience and communicate on a whole new level.
Beginning in the nineteenth century, with performers like Franz Liszt, were musicians who were able to excite an audience and communicate on a whole new level.